The exhibition “The great Time is Out of Joint”, bringing to completion an extensive process of transformation, reorganization and rearrangement of its collections, marked the opening of a new chapter in the history of the National Gallery of Modern and Contemporary Art. The exhibition, which is still open to the public, has undergone a number of transformations over time (variants, additions and replacements of works) which, by modifying the morphology of the exhibition, have brought to light a project conceived since from the origin in continuous modulation. In the imminent release of the publication dedicated to Time is Out of Joint (which establishes the fertile work of transforming space and collection by the exhibition of the same name après coup), the new Joint is Out of Time project reopens.

Disseminated in various rooms of the Gallery, the works of E lena Damiani, Fernanda Fragateiro, Francesco Gennari, Roni Horn, Giulio Paolini, Jan Vercruysse are inlaid in the pre-existing outlining the emergence of an unprecedented constellation whose design appears capable of enrolling in the corpus of Time is Out of Joint. The goal of the new project, carried out in close dialogue with the invited artists, is to build an ‘exhibition’ in the already built legible as a sort of variation in the course of work and able to fit into a context and make it ‘resonate ‘, adding different and complementary shades and shades. Hence the peculiarity of an exhibition format that paradoxically draws its merit from merging into the layout that houses it.

The complex operation that connects Time is Out of Joint with Joint is Out of Time, explicitly underlined by the inversion of terms expressed in the title, tends (through a sort of double bind) to establish a disjunctive relationship between two projects that, made the due proportions are configured as autonomous but indissociable moments of a single process: two simultaneous moments of an operation aimed at bringing out, at the same time, on one side the reserve of the future guarded by the prestigious collection of the Gallery and, on the other, the profound impact of the memory of art history that animates the new works on display.

Thanks to the collaboration with the Academy of Fine Arts in Rome, a cultural mediation project will see students present in the gallery’s exhibition spaces, involved in offering the public guided tours and information on the exhibition for the duration of the Joint in Out of Time.

Room 8
Gardener’s room
The room is dedicated to impressionist artists and to those painters that can be enclosed with the name of the School of Paris, therefore it also includes the Italians who, at the end of the century, moved to Paris now considered the world capital of art.

The impressionism is based on the possibility of making, through the color, the impressions from reality, with a preference for the landscape; for this reason they prefer to paint outdoors, fixing on the canvas the impressions aroused by the reality of lights and colors, with rapid brush strokes without following a pre-established and previously drawn design.

The date of birth is April 15, 1874, when Monet, Renoir, Sisley, Degas, Morisot and others exhibit by the photographer Nadar. They were paintings en plein air executed along the banks of the Seine, helped by the advances in chemistry that had produced the oil paints in tubes, easy to use outside the atelier. The exhibition was a total failure of criticism. Impressionism was the term created by a critic in front of Claude Monet’s painting: “Impression: soleil levant”, to highlight its defects, its compositional disorder.

Traditionally the artist who initiates is Claude Monet, while the one who concludes his experience by opening new avenues is Paul Cézanne. This room houses the three paintings at the center of a sensational theft that occurred in the Gallery in May 1998: on the evening of the 19th, “Il Gardener” and “L’Arlesiana” by Vincent van Gogh and “Le Cabanon de Jourdan” were stolen Paul Cézanne. The story of the robbery is described in detail in the book “10 pm, theft in the gallery”, signed by Francesco Pellegrino and with the introduction by Walter Veltroni.

Room 9
Hall of Giordano Bruno
The hall opens the part of the gallery dedicated to the second half of the nineteenth century, or rather to the works created after 1883, the year the museum was established.

The salon wants to celebrate the epic of the Risorgimento with the large paintings by Fattori and Cammarano of the battles commissioned by the young unitary state and with the canvas on Dogali he talks about the colonial ambitions of Italy of the time, while with the painting emigrants by Adolfo Tommasi, artists also face the new social problems that arise in those years. At the center, the cast of the statue of Giordano Bruno by Ettore Ferrari wants to pay homage to the most radical component of our Risorgimento.

Room 10
Mother’s Room
The room is dedicated to the Tuscans, in the period following that of the Macchiaioli. It takes its name from the statue placed in the center which is the work of a theoretical artist of the movement just mentioned.

Room 11
Vote Room
The room takes its name from the large canvas of: Francesco Paolo Michetti, The Vow, 1883.

It represents the feast of San Pantaleone, patron of Miglianico (in Abruzzo), built between 1881 and 1883, became the great attraction of the International Exhibition of Rome in 1887, arousing a lively debate, especially for the raw realism, very distant from his previous subjects. The canvas represents an original expression of the realist movement which, in those years, also manifested itself in the literary field with I Malavoglia di Verga (1881).

Francesco Paolo Michetti (Tocco Causaria, Pescara 1851 – Francavilla al Mare, Chieti 1929) was trained in Naples at the Accademia with Morelli and Filippo Palizzi who encouraged him to work from life in Abruzzo. He met D’Annunzio and studied in depth the Abruzzo environment and customs. Once a subject of disproportionate enthusiasm, Michetti’s work was soon brought back to the limits marked by exuberant and superficial descriptivism. From Encyclopaedia dell’Arte, 2002 Garzanti.
When in 1915 the Gallery’s collections were transported to the viale delle Belle Arti building, a commission formed by Michetti, Bistolfi and Ojetti made it the order by regions. From: Bucarelli, The Gallery of Modern Art, 1973 State Printing Institute

Room 12
Venetians room
The room is so called because it is dedicated to Venetian painters who are influenced by the tradition of the Venetian school, characterized by the brightness of the paintings, as was the most representative artists of that school in Titian and Tintoretto. Perhaps the most important artist of this painting in the nineteenth century is Giacomo Favretto(Venice 1842 – 1917), he devoted himself to landscape painting adhering to the poetics of the Macchiaioli, following that of Costa and the Neapolitan painters. Back in Venice, he managed to bring together the new pictorial acquisitions in the recovery of the 18th-century Venetian landscape tradition, with a language of sensitive refinement that did not exclude a clear naturalistic transcription. Among his most famous works: “Mattino alla Giudecca” 1892, Trieste, Museo Revoltella. From Encyclopaedia dell’Arte, 2002 Garzanti.

Room 13
Hall of Stanga
The room is dedicated to Northern Italian painters in the period related to the end of the 19th century. The room takes its name from the largest work placed in the center of it:

Giovanni Segantini, Alla stanga, 1886. The painting is set in an alpine valley, the Valsassina, the Brianza foothills. In the foreground, a group of oxen tied to the stanga in the evening, when the shadows grow longer, the distance to the snow-covered mountains. Men and animals live immersed in nature, a great sense of peace shines through this image.

Giovanni Segantini (Arco, Trento 1858 – Schafberg, Grigioni 1899) is the most famous of the Divisionists. “He reconciled the theoretical principles of movement with a new and intense vision of nature, especially of the alpine landscape. The picture is prior to the adoption of Divisionism” (from: Palma Bucarelli, The National Gallery of Modern Art, 1973 State Polygraphic Institute, p. 40). After a troubled childhood, after leaving the Milan reform school, he attended the Brera Academy (1857-79) where he assimilated the experience of Lombard naturalism. He retired to Pusiano in Brianza deepening his research in the naturalistic direction. He then moved to Savorgnino in the Grisons began to follow the technique of divisionism (for a definition of this movement see the Previati room). From: Encyclopedia of Art,

Room 14
Previati room
The room is dedicated to Gaetano Previati after Segantini’s death he became the champion of divisionism in Italy. The divisiveness is a trend artistic kind in Italy in the penultimate decade of the nineteenth century and active until 1915 or so. The Divisionist painters imposed themselves on the public and critics starting from the first Triennale of 1891. Divisionism is preceded in France by the Pointillisme of Georges Seurat and Paul Signac who had adopted the principle of color decomposition with a rigor unknown to the Italians.

Segantini, Previati and Morbelli associated a sentimental component to a naturalistic image which translates into a filamentous structure of the brush stroke (Previati), or material (Segantini) or chiaroscuro (Morbelli). Positivism influenced this artistic trend. The positivism was a European philosophical movement of the late nineteenth century owed much to the French Auguste Comte the name and theoretical exposure. He opposed the romantic ideal with the positivity of a method based on scientific facts and a concept of philosophy as a synthesis of the sciences.

Room 15
Veranda Sartorio
The room was originally a veranda open onto the garden which overlooks Via Aldrovandi, subsequently it was decided to close it with large windows to increase the exhibition space. On the veranda Sartorio symbolist works on canvas of the Roman school of the end of the century with Sartorio, De Carolis, Nino Costa and others.

Vestibule Eva
Also in this small, but bright room, the panels by Paolo Gaidano are located (see Sartorio veranda).

The room is dedicated to late 19th century sculpture which does not show particular originality or elements of innovation. At the center of the room is the sculpture:

Vestibule of Rebirth
In the small and bright room, there are the panels by Paolo Gaidano of which it was said in the Sartorio veranda, in the center the bronze sculpture: Ettore Ximenes, Rebirth, 1895.

It represents a young woman, Spring, seen according to Michelangelo’s canons. Example of the most typical of the floral or liberty style, the work of the Palermo sculptor and illustrator lived mainly in Rome (1855 – 1926). In 1880 he successfully exhibited the model for Ciceruacchio (later made of bronze and placed in the Ripetta promenade), the following year in Paris he was appreciated for his “Nanà”. He made the bronze quadriga on the Palace of Justice in Rome. The Ximenes cottage in Piazza Galeno in Rome was built for himself in the most typical liberty style.

National gallery of modern and contemporary art in Rome
The National Gallery of Modern and Contemporary Art, also known as La Galleria Nazionale, is an art gallery in Rome, Italy. It was founded in 1883 on the initiative of the then Minister Guido Baccelli and is dedicated to modern and contemporary art.

It houses the most complete collection dedicated to Italian and foreign art from the 19th century to today. Among paintings, drawings, sculptures and installations, the almost 20,000 works in the collection are an expression of the main artistic currents of the last two centuries, from neoclassicism to impressionism, from divisionism to the historical avant-gardes of the early twentieth century, from futurism and surrealism, to the most conspicuous nucleus of works of Italian art between the 1920s and 1940s, from the twentieth century movement to the so-called Roman school.

The National Gallery of Modern and Contemporary Art keeps the complete collection of international and Italian art from the XIX to the XXI century, composed of 20.000 artworks, including paintings, drawings, sculptures and installations and it represents the major artistic movements from the last two centuries. From Neoclassicism to Impressionism, Divisionism and Historical avant-gardes of the early twentieth century, Futurism, Surrealism, the most remarkable group of works from the ’20s to the’ 40s, from the Novecento’s movement to the so-called Scuola Romana, from Pop Art to Arte Povera, contemporary art and artists from our time, and more are represented and showcased in La Galleria Nazionale’s collection and space.

The new gallery layout was inaugurated in October 2016, based on an original project which, by reducing the number of works on display, introduces the non-chronological reading key to the main exhibition “Time is out of joint.” In addition to the new layout of the rooms, the access area to services, called the “welcome area”, the library and the Sala delle Colonne are redefined. While retaining the institutional name of the National Gallery of Modern and Contemporary Art, the gallery takes on a new name in its communication, “The National Gallery.”